{"id":7391,"date":"2018-06-01T11:24:56","date_gmt":"2018-06-01T09:24:56","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=7391"},"modified":"2019-04-21T20:59:35","modified_gmt":"2019-04-21T18:59:35","slug":"flamenco-in-puente-genil-i","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/articles\/flamenco-in-puente-genil-i\/","title":{"rendered":"Flamenco in Puente Genil (I)"},"content":{"rendered":"<div class=\"paragraph\">\n<p>Each town and city with an important and deep-rooted flamenco tradition has its own idiosyncrasy when it comes to experiencing <i>arte jondo<\/i>. Places such as Jerez, Sevilla, Utrera, M\u00e1laga, Mairena del Alcor or C\u00e1diz have a long and prolific flamenco tradition which <i>forces<\/i> them to preserve and nurture it through their public institutions (such as town councils and other local government agencies) and private entities (such as <i>pe\u00f1as<\/i>, cultural associations, etc.), the later with the additional components of entertainment and (ideally) learning. All of these towns and cities have their specific peculiarities (a high or low number of <i>pe\u00f1as<\/i>, various types of aficionados, its artistic diversity, the disposition of its political leaders, etc.), but also, in my opinion, rather strong similarities: a solid flamenco tradition; a small, divided group of aficionados (sometimes with opposing factions, and always very resolute and obsessive about their flamenco opinions); <i>pe\u00f1as<\/i> trying to move forward facing enormous difficulties (financial, generational, etc.); and a political class (the mayors and\/or councillors in charge) which generally, despite generous public spending, is (with the odd honorable exception) uncapable of developing a sensible and coherent flamenco program, because they have no clue about this matter. The worst of all is that, on top of this, they believe themselves to be Kings or Queens of Flamenco in their respective municipalities, never listening to any advise or suggestion (and much less the smallest hint of criticism) from any qualified person beyond their inner circle of opportunistic sycophants who are solely focused on their own benefits.<\/p>\n<p>Puente Genil is no exception in this panorama. As a local aficionado, allow me to constructively, honestly and straightforwardly expose the situation of flamenco in this town. It\u2019s a situation, like everything in life, with pros and cons, and I\u2019ll try to dissect it as briefly as possible.<\/p>\n<p>Let\u2019s start with its <b>flamenco tradition<\/b>. The first flamenco news relating Puente Genil are from over a century ago, and they were about cantaores such as <i>Ni\u00f1o del Genil<\/i>, <i>El Seco<\/i> and Diego <i>El Tenazas<\/i> (who despite being born in Mor\u00f3n de la Frontera, is considered a local in Puente Genil). All of these <i>cantaores<\/i>were born in the last decades of the 19th century, sowing the seeds of everything that was to come next. From then on, one of the most important flamenco traditions in all of Andalusia (comparing with towns of similar size) has taken shape, having as protagonists characters such as the Hierro brothers (Juan and Manuel), Perico Lavado, <i>Maestro Chicano<\/i>, Antonio Ranchal, Jim\u00e9nez Rejano, <i>Frasquito<\/i>, <i>El Duende<\/i>, <i>Cortezas<\/i>, Vicente C\u00e1ceres, Rufino Rivas, etc., with the main star being Antonio Fern\u00e1ndez D\u00edaz <i>Fosforito<\/i>, one of the greatest masters in the history of <i>cante<\/i>. This flamenco tradition is sustained in our days by artists of the stature of Juli\u00e1n Estrada and David Pino, and stirred by young talent such as Jorge V\u00edlchez, Carolina L\u00f3pez, <i>Cortecitas<\/i> o \u00c1lvaro Mart\u00edn. Puente Genil is noteworthy not just because of its <i>cantaores<\/i>, however, as it also has outstanding flamenco guitarists such as Manolo Santos, Antonio Centenera and the young Antonio C\u00e1ceres, Jes\u00fas Zarrias, Mariano Delgado, Juani Lavado, Paco Moya <i>Hijo<\/i>, Rafael Ortega, Sisco Cort\u00e9s and V\u00edctor Serrano, all of them in different levels and playing distinct styles, nurturing our flamenco sound with their guitars. We must add <i>baile<\/i> to <i>cante<\/i> and <i>toque<\/i>. Even as Puente Genil has never had a famous, nationally-renowned bailaor or bailaora, it has several well-establish academies of <i>baile<\/i>, whose teachers perform a praiseworthy task, training hundreds of boys and girls. I\u2019d like to highlight two young teachers\/<i>bailaoras<\/i>who, with a bit of luck, may develop a great artistic career: Roc\u00edo Moreno and Mar\u00eda Jes\u00fas Cort\u00e9s. Regarding flamencology and the intellectual dissemination of <i>cante<\/i>, which is such an important activity in this art, the name of Ricardo Molina comes to the fore. Others, such a the late Jes\u00fas P\u00e9rez, Emilio Pozo and Andr\u00e9s Alcaraz have also educated and guided many youngsters in the secrets of flamenco, in different areas and in different ways. Nowadays we must watch out for Miguel \u00c1ngel Jim\u00e9nez Valverde, who more than a year ago brought back to the history of this town and to the history of flamenco the memory of a forgotten cantaor (Antonio S\u00e1nchez <i>Ni\u00f1o del Genil<\/i>), and who will continue to undertake solid flamenco research. In the last few years, we were able to enjoy an educational program broadcasted by the <i>Onda Cero<\/i> radio station, called <i>Aula Flamenca<\/i> (<i>Flamenco Classroom<\/i>), now sadly extinct, and we have probed the internet with <i>Puente Genil con el Flamenco<\/i>, one of the first Facebook groups focusing on discussion and analysis of flamenco, besides being an open window to flamenco in Puente Genil. I can\u2019t fail to mention two young <i>palmeros<\/i>, the Gamero brothers, who have <i>comp\u00e1s<\/i> running in their blood and currently accompany artists of the stature of Jes\u00fas M\u00e9ndez and Antonio Reyes. Concerning <i>cantes<\/i>, Puente Genil has contributed two styles to flamenco heritage: the <i>Z\u00e1ngano flamenco<\/i> and the <i>Saeta Cuartelera<\/i>.<\/p>\n<p>Regarding flamenco <b>aficionados<\/b>, Puente Genil is not very different than other flamenco municipalities: they are a diverse minority. The only slight difference is perhaps its fragmentation, because it doesn\u2019t have any strong association or <i>pe\u00f1a<\/i>, so the flamenco aficionados in Puente Genil are generally are scattered and numb. Like everywhere else, there are some very good aficionados, and others not so much, yet they all enjoy <i>cante<\/i> in the same measure. That\u2019s about it, though, because the aficionados of Puente Genil, in general, are not big fans of lectures, seminars or bibliography reading.<\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<div class=\"paragraph\"><i>Continues in <\/i><a href=\"https:\/\/www.expoflamenco.com\/archivo\/articulos-archivo\/la-situacion-flamenca-en-la-puente-ii\" target=\"_blank\" rel=\"noopener noreferrer\">Flamenco in Puente Genil (II)<\/a><\/div>\n<div><\/div>\n<div><\/div>\n<p><a><img decoding=\"async\" class=\"galleryImageBorder wsite-image\" src=\"https:\/\/www.expoflamenco.com\/archivo\/uploads\/5\/2\/7\/5\/5275404\/published\/alvaro3c-bw_2.jpg?1527903030\" alt=\"Image\" \/><\/a><\/p>\n<div class=\"paragraph\"><em><strong>\u00a0<\/strong><\/em><em><strong>Alvaro de la Fuente Espejo<\/strong><\/em><em><strong><br \/>\n<\/strong><\/em><\/div>\n<div><\/div>\n<div><\/div>\n<div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Each town and city with an important and deep-rooted [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":7387,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[67,258],"tags":[],"class_list":["post-7391","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-signature"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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